Acted in various halls and auditoriums of the Federal Capital and Gran Buenos Aires; with different groups and as a soloist: Sala Promúsica, Belgrano Auditorium, Alianza Francesa Hall, Golden Hall of the Municipality of La Plata, Sala Dante Alighieri. Papelera Manufacturing, Torcuato Tasso, Sadem, Templum, General San Martin Theater, Teatro Roma, etc.

Inside:
Provinces of Chubut, Santa Fe, Córdoba, Entre Ríos, La Rioja, Ushuaia, Mendoza, Salta and Jujuy.
Abroad:
Chile (Santiago), Soloist.
Italy (Sicily, Marina Di Ragusa, with the typical orchestra "Selección Porteña")
France (Lyon, with the French / Argentine symphonic orchestra, under the direction of Pedro Ignacio Calderón).
México (Tamaulipas) with the company "Tangueros del Sur".
Author and interpreter of the music "Prepare Your Skeleton for the Air" (theatrical work on text by García Lorca, directed by Guillermo Cacace). Pianist and arranger in different musicals; The Wizard of Oz, The Phantom of the Opera, Miss Saigon, Beauty and the Beast, Aladdin, Seussical, Aida, The Fiddler of the Roof, Into The Woods, Love without Barriers, The Miserable, Tommy, Mary Poppins, The Merry Window , among others.

Awards:
1. Winner of the first audience prize and second prize of the jury of the contest "Tango Music Award 2011" (Germany, Sttutgart).
2. First mention in the International Competition of Isla Verde, Córdoba, Argentina, January 2013 for the work "Milongato".
3. First prize in the National contest for the arrangement of the tango "El Choclo" for symphonic band, Santa fe, Argentina, April 2013.

Currently integrates the tango group "Sexteto Fernando Taborda" and sextet CV 2.0. He has worked as a teacher since 1995 in the Asociacion Escuelas Lincoln, La Lucila, Buenos Aires, Argentina.

Videos

Sheets

Interview

What does music mean to you personally?

There is a famous phrase of Nietzsche that I really like "Without music life would be a mistake" and I totally believe in that. I think music is pure love; if music did not exist there would be no love.

Do you agree that music is all about fantasy?

Music is like the universe; it is infinitely incredible, powerful, dazzling and contains the mixture of fantasy and reality. In the interpretation and in the creation, one starts from the fantasy, from what one yearns for, from what one wants, from what one wants to make known, sometimes one achieves others, but it gives you the opportunity to try times you want and that's how wonderful and magical the music is. Creation starts from an idea that I would call fantasy, through language and acquired knowledge; we can transform that fantasy into reality.

If you were not a professional musician, would would you have been?
If I were not a professional musician, surely I would have been linked to music anyway, as an amateur musician or as a listener, I was surrounded by music. I think there is no person who does not like music.

The classical music audience is getting old, are you worried about your future?

The transformation was always continuous. The search for artists is constant, both in music and in painting and literature. I am convinced that the transformation that is taking place in these times is very interesting. The fusion of academic music with folk music is giving interesting results. They are no longer two separate branches, today they are closely related. Bela Bartok did it in his time with the so-called nationalist music.

What do you envision the role of classical music to be in the 21 century? Do you see that there is a transformation of this role?

I do not know exactly what happens outside of my country. Here the audience does not become massive, except sometimes when the arrival of a renowned performer. The existing reality is the lack of space and support from the institutions, such as providing concert halls for concerts and a wider dissemination to attract audiences. The productions that are carried out usually are independently.

When I say that classical music is searching for new ways or that the classical music is getting a new face, what would come to your mind?

Currently, thanks to technology and social networks, we have access to what is happening around the world. We can sit comfortably in an armchair and listen to a live concert. Musicians of renown are sometimes enjoyed and we have the possibility of knowing new values and talents. As I said before, classical or academic music is acquiring a new concept, which is to open up to new proposals of styles, aesthetics and interpreters.

Do you think that the classical musician today needs to be more creative? Whats the role of creativity in the musical process for you?

Every artist aims to innovate and interpret in an original way. Many can interpret Bach or Chopin and each leaves its mark. I can hear the same works today by different pianists and each performance is different. Different visions, different techniques but very beautiful many of them. I always enjoyed Bach with the interpretations of Glenn Gould like those of Marta Argerich, very different but both extremely beautiful. It continues to happen today with new talents. The technique continues to be perfected as the interpretation. In conclusion, innovation continues and there continues to be a lot of creativity luckily.

Do you think we musicians can do something to attract young generation into the classical music concerts? How will you proceed?

The interest of young people exists. You just have to give them the opportunity to have more access, more space to live concerts. Today technology gives us an interesting range of possibilities at the level of entertainment. A work by Mozart or Ravel is a soloist or an orchestra with the possibility of incorporating live images while the performance happens; it would not be a bad idea, is it? It is done and continues to be done as for example in Rock. It would not be bad to try classical music.

Tell us about your creative process. Do you have your favorite piece (written by you) How did you start working on it?

It is not easy to talk about how one composes. Many times I start with one idea and end in another. One fantasy leads me to another. Sometimes a composition ended up being in accordance with the result, in others it did not and I left them for a while and I went back to them again. It is a constant round trip. The same happens in the composition, in the interpretation and in the arrangements. Several factors are determining. Mood states and maturity times, etc., influence in a way. I do not have a favorite work. Each creation is like little children. I value them equally, each of them takes time and effort and with the passage of time I return to them to know if there is something to change, modify or polish. It is a continuous dedication on them.

We, Moving Classics TV, love the combination of classical music with different disciplines: music and painting, music and cinematography, music and digital art, music and poetry. What do you think about these combinations?

Being able to combine the different artistic disciplines seems absolutely wonderful to me. Would there be anything better than this? Thanks to technology, I was able to find this interesting and attractive space Moving Classics TV.

Can you give some advice for young people who want to discover classical music for themselves?

Curiosity has the whole world. The search for man to discover new things is continuous. Today's technology helps in this process. I repeat the same thing, more artistic diffusion and possibilities of rapprochement and diffusion of the arts by the authorities are needed. My advice to young people who are discovering the world of music is the same as my parents gave me "If you love music, study with great dedication and effort" The enjoyment will be even greater over time.

Now it is a common practice in the media to talk that the classical music is getting into the consumption business, do you agree? We are speaking about the supply and demand rules and how to sell your “product” in your case your compositions. How do you see it?

I speak from my own experience. Here in Argentina, supply and demand are very difficult. There is no serious production with respect to classical music. The diffusion of unpublished works for composers and performers is very difficult to carry out. For example, I quote Guastavino, an Argentine composer who left some wonderful works and incredible works, was recognized here after his death because his works were valued abroad, recorded and performed in other countries, specifically in Europe while here he was an unknown because his work was not broadcast. The case of Astor Piazzolla was different but equally sad. Here it was said that it was not tango or academic music, it was defenestrated as a composer and bandoneon player. His fame got her abroad. With the passage of time was recognized in Argentina. It is a very common evil with artists in these lands. The recognition is late.

Do you have expectations what regards your listeners, your audience?

The expectation that the interpreter, arranger or composer has is to make his work known. If that possibility did not exist it would be in vain all the effort and sacrifice that the artist makes. The acceptance or not of the hearing is another issue. I would be satisfied if I just had those opportunities and if the material is liked, welcome.

What projects are coming up? Do you experiment in your projects?

The projects are many. I am involved as arranger and composer of two Argentinian pianists who every year travel abroad and offer their concerts where they interpret my works and arrangements for 4 hands piano. I have a trio of Traverse Flute, Guitar and Piano where we interpret my tango compositions and work for different instrumental formations.

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